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Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Catalog:

New Art City Festival 2022 Festival Grounds

New Art City Opened March 30th, 2022 View 3D Gallery
Main image for New Art City Festival 2022 Festival Grounds

Statement:

This curatorial statement is distilled from conversations with exhibiting artists individually and in groups. Special thanks to participants in the essay writing group including: A.M. Darke, Natalee Decker, Tee Topor, Charlotte Strange, Alice Dee Hoffman, Sonia Levesque, Jasmine Wang, Alice Yuan-Zhang, and Henrique Fagundes

*Terms of Service:* On tech platforms, the terms of service is an asterisk and a statement of what is forbidden; the AI will ban you if you break these rules. How can we build evolving communities of trust online where the rules are encoded in culture not code?

*Architectures of Abundance:* Architectures of space online are shifting and permeable, and architectures of thought are no less so. This is a strategy for curating existing artifacts, generating new ones, and creating a speculative civic architecture for our virtual community.

With *New Art City Festival 2021,* we celebrated our community and all that they have created by shining a spotlight on the artists pushing the boundaries of what is possible with our toolkit. The festival had a focus on new work, condensing over 20 openings into 2 weeks– more than we had ever seen. The exhibitions reflect the tremendous diversity of activity on New Art City across disciplines, media, and geographies. The entire festival is still open and you can revisit the 2021 festival grounds [here](https://festival.newart.city/). This year’s festival features 31 virtual exhibitions by over 100 artists around the world.

3D Environment Description:

You appear inside a semi-transparent black and white structure, facing a wire fence with a hole in the left side large enough to pass through. A poster with green lettering saying "Terms of Service" is attached to the fence. The area is overgrown with bamboo and scattered with rocks. The sky is black and white shaded cube shapes.

Artworks in this space:

tiny audio movement

dc

bubble

Alice>>>>Deeee

transcube

Alice>>>>Deeee

swell 0.0

Alice>>>>Deeee

bubble 2

Alice>>>>Deeee

Forest of Things

Manuel Tozzi
Go to Forest of Things

Visiting Center

Anthony Sokry

New Art City Tower - Visiting Center Floor

Mobius Desk

Exhibition Statement 1/17/21

*Terms of Service:* On tech platforms, the terms of service is an asterisk and a statement of what is forbidden; the AI will ban you if you break these rules. How can we build evolving communities of trust online where the rules are encoded in culture not code?

*Architectures of Abundance:* Architectures of space online are shifting and permeable, and architectures of thought are no less so.  This is a strategy for curating existing artifacts, generating new ones, and creating a speculative civic architecture for our virtual community. 

The festival grounds is already in progress and collaboratively constructed entirely from architectures which exist elsewhere on New Art City. All exhibiting artists are invited to contribute and hyperlink back to the original location of their shapes. By linking back to these shapes in their original contexts, we prototype a new type of virality, where replicas point to their virtual originals.

What began as an idea to include an essay anthology in the festival has evolved into a strategy for installing snippets of 3D text within the festival grounds, which form a collective and explorable curatorial statement and point outwards to the writing in other forms (websites, interviews, video essays, AI poetry, PDFs, Zines). This is an approach for de-individualizing curation, but also provides ground for a non-visual experience of the festival world.

This is not a book

...it's a portal to the Hybrid Art Journal.

Coexistence The journal's 'north star' is: Coexistence' - how human, digital and physical can work together to create meaningful connections. The HAJ is a collaborative effort between writers, artists, curators, poets, thinkers and makers, all coming together to create a beautiful piece of Hybrid Art.

HYBR1D ART J0URNAL

Bug World

Bug World

TERMS & CONDITIONS APPLY

Architectures Of Abundance

This building was used as a venue in New Art City Festival 2021 and abandoned. The natural environment has begun to re- claim it. We broke open a door and plan to hold a rave in here. Benny is working on a re- active dance floor.

“I have read and agree to the Terms and Conditions.... JK”

Animated RGB Lights

Download Animated Lights

ATTENTION: FLYING IN THIS AREA IS STRICTLY PROHIBITED. DO NOT UNDER ANY CIRCUMSTANCES DOUBLE TAP SPACE BAR.

NetworkWorldGenerator Placement Test

John Whall

Geometry node animation not showing. Will try and fix, but please hide/delete if not resolved. Help needed! If anyone knows how to apply geometry node animation so that it is exportable drop me an email on artbyjohn@outlook.com

Etherpad Collaborative Writing Page

This festival is an ongoing experiment in community participation. Every exhibiting artist is invited to respond to the title and theme as a writing prompt, and add their text to this written mural.

Duplicate this to make a new text object

"The concept of ownership renders all who adhere untrustworthy."

The hope is to establish this zone as a virtual commons: a place where the boundaries of trust are wide`

CR_SP_0040 - Celebration

Charlie Rubin
Strange Paradise by Charlie Rubin
CR_SP_0040 - Celebration

CR_SP_0029 - Special Window

Charlie Rubin
https://newart.city/show/strangeparadise

Watched Over by Machines of Loving Grace

Henrique Fagundes

Forest of Things

Manuel Tozzi

"Forest of Things" is an audiovisual fairytale by Manuel Tozzi from 2021. For the online exhibition the work is staged in a computer-generated multiplayer environment. With the sound of birds and water flowing by, the forest of things pretends to be an ecological system rather than uncovering its technological nature. Only one wooden fence, the boundary between the wild forest and the domesticated fields, disturbs the illusion. As it starts moving autonomously, it stops performing its programmed functions. Suddenly it reveals a letter of the alphabet, a hint of its algorithmic system. Because the letter x is used to signify the unknown, the underlying motives in the forest emerge. As the visitors wander through the space they encounter four characters, who have secluded themselves in the secureness of the thicket. Awakened from their delusions by the miraculous transformation of the fence, they start sharing their concerns about the pretence of nature and the barricades of culture which always remain untight. Built by Manuel Tozzi & Anton Krümpelmann Music by Moritz Scharf

Go to Forest of Things

Forest of Things

Manuel Tozzi

"Forest of Things" is an audiovisual fairytale by Manuel Tozzi from 2021. For the online exhibition the work is staged in a computer-generated multiplayer environment. With the sound of birds and water flowing by, the forest of things pretends to be an ecological system rather than uncovering its technological nature. Only one wooden fence, the boundary between the wild forest and the domesticated fields, disturbs the illusion. As it starts moving autonomously, it stops performing its programmed functions. Suddenly it reveals a letter of the alphabet, a hint of its algorithmic system. Because the letter x is used to signify the unknown, the underlying motives in the forest emerge. As the visitors wander through the space they encounter four characters, who have secluded themselves in the secureness of the thicket. Awakened from their delusions by the miraculous transformation of the fence, they start sharing their concerns about the pretence of nature and the barricades of culture which always remain untight. Built by Manuel Tozzi & Anton Krümpelmann Music by Moritz Scharf

Go to Forest of Things

It Glitches at the Sight of Our Nipples

mai ishikawa sutton
it glitches at the sight of our nipples
A pixelated image of a person laying down in a bath -- their feet, thigh, and nipple is visible, bordered by a distorted image of a cracked cell phone screen.

I want to roll around in the muck. Squeeze grainy mud between my toes And spread it across my bare chest As beetles skitter down my thighs.

Wander, Flow, and Dragons!

Mattie and DC

Wander, Flow, and Dragons is a collaboration between DC Spensley and Matt Howell. Walk through the golden foot to portal to the WFND space!

What you believe enslaves you.

prototype_01

Guillaume Saur

Prototype_01 is part of a series of algorithmically generated masks based on a dataset composed of theatrical masks. It is part of a larger experimental project with facial recognition entitled attempts at invading machine learning systems.

Therefore, believe nothing.

Carbon

Lukas Opekar

Collaborative project by @beatsbyholly (sound) and @opekarlukas (point cloud photography) questioning our perception of reality. Ambiguous space, where matter is an ungraspable mathematical structure without any substance on its own. The objects take different shapes depending on our point of view. Explore the hidden beauty of structures based on plants and trees.

newart.city/show/carbon

a sea to swallow icarus

Nacoca Ko

an artefact from the June 2021 show, "Landscapes with the Fall of Icarus"

agathering

\\|//

March 2020 saw the first lockdown in London and with it the closure of arts venues and nightclubs. The shared liminal space of the dance was gone and replaced with isolation—isolation writ large in the empty streets and architectures of the city. The space I present is an artefact, an abstraction and condensation, of the countless walks through those vacant architectures and city soundscapes. It is a psychogeography scripted in sound and graffiti. A collection of photos and tunes slightly altered and mixed into architectures representative of an altogether different liminal space that the city became.

March 2020 saw the first lockdown in London and with it the closure of arts venues and nightclubs. The shared liminal space of the dance was gone and replaced with isolation—isolation writ large in the empty streets and architectures of the city. The space I present is an artefact, an abstraction and condensation, of the countless walks through those vacant architectures and city soundscapes. It is a psychogeography scripted in sound and graffiti. A collection of photos and tunes slightly altered and mixed into architectures representative of an altogether different liminal space that the city became.

#waitforit

Mark Ramos

where_is_the_cyberpunk_we_were_promised? If technology will save the world then the road to the future is littered with empty promises. We order everything from groceries, laptops, clothing, and books from the convenience of entrepreneurial online platforms while the labor performed within these networks in warehouses and shipping centers is comfortably obfuscated. Social media and dating apps promise to establish real and deep human to human connections by swiping right, liking, and reposting through late capitalist ennui. For critical discourse, scroll down to the comments and don’t forget to follow, like, and subscribe. But, where are the jetpack races through neon lit city skylines? Giant mecha and clean renewable energy? The means to the end of food insecurity, racial and economic justice, and cures for disease are now well-worn tropes of sci-fi utopia. Instead, here and now in the pre-apocalypse, we are left with the rusting hulks of Theranos prototypes, 3d printed ghost gun files, and billionaires colonizing space in a race to flee a dying planet. where_is_the_cyberpunk_we_were_promised?

https://mhr1235.github.io/where_is_the_cyberpunk_we_were_promised/

#waitforit

Mark Ramos

where_is_the_cyberpunk_we_were_promised? If technology will save the world then the road to the future is littered with empty promises. We order everything from groceries, laptops, clothing, and books from the convenience of entrepreneurial online platforms while the labor performed within these networks in warehouses and shipping centers is comfortably obfuscated. Social media and dating apps promise to establish real and deep human to human connections by swiping right, liking, and reposting through late capitalist ennui. For critical discourse, scroll down to the comments and don’t forget to follow, like, and subscribe. But, where are the jetpack races through neon lit city skylines? Giant mecha and clean renewable energy? The means to the end of food insecurity, racial and economic justice, and cures for disease are now well-worn tropes of sci-fi utopia. Instead, here and now in the pre-apocalypse, we are left with the rusting hulks of Theranos prototypes, 3d printed ghost gun files, and billionaires colonizing space in a race to flee a dying planet. where_is_the_cyberpunk_we_were_promised?

https://mhr1235.github.io/where_is_the_cyberpunk_we_were_promised/

#wait_for_it_1.2

Mark Ramos

where_is_the_cyberpunk_we_were_promised? If technology will save the world then the road to the future is littered with empty promises. We order everything from groceries, laptops, clothing, and books from the convenience of entrepreneurial online platforms while the labor performed within these networks in warehouses and shipping centers is comfortably obfuscated. Social media and dating apps promise to establish real and deep human to human connections by swiping right, liking, and reposting through late capitalist ennui. For critical discourse, scroll down to the comments and don’t forget to follow, like, and subscribe. But, where are the jetpack races through neon lit city skylines? Giant mecha and clean renewable energy? The means to the end of food insecurity, racial and economic justice, and cures for disease are now well-worn tropes of sci-fi utopia. Instead, here and now in the pre-apocalypse, we are left with the rusting hulks of Theranos prototypes, 3d printed ghost gun files, and billionaires colonizing space in a race to flee a dying planet. where_is_the_cyberpunk_we_were_promised?

https://mhr1235.github.io/where_is_the_cyberpunk_we_were_promised/

#wait_for_it_1.1

Mark Ramos

where_is_the_cyberpunk_we_were_promised? If technology will save the world then the road to the future is littered with empty promises. We order everything from groceries, laptops, clothing, and books from the convenience of entrepreneurial online platforms while the labor performed within these networks in warehouses and shipping centers is comfortably obfuscated. Social media and dating apps promise to establish real and deep human to human connections by swiping right, liking, and reposting through late capitalist ennui. For critical discourse, scroll down to the comments and don’t forget to follow, like, and subscribe. But, where are the jetpack races through neon lit city skylines? Giant mecha and clean renewable energy? The means to the end of food insecurity, racial and economic justice, and cures for disease are now well-worn tropes of sci-fi utopia. Instead, here and now in the pre-apocalypse, we are left with the rusting hulks of Theranos prototypes, 3d printed ghost gun files, and billionaires colonizing space in a race to flee a dying planet. where_is_the_cyberpunk_we_were_promised?

https://mhr1235.github.io/where_is_the_cyberpunk_we_were_promised/

#waitforit

Mark Ramos

where_is_the_cyberpunk_we_were_promised? If technology will save the world then the road to the future is littered with empty promises. We order everything from groceries, laptops, clothing, and books from the convenience of entrepreneurial online platforms while the labor performed within these networks in warehouses and shipping centers is comfortably obfuscated. Social media and dating apps promise to establish real and deep human to human connections by swiping right, liking, and reposting through late capitalist ennui. For critical discourse, scroll down to the comments and don’t forget to follow, like, and subscribe. But, where are the jetpack races through neon lit city skylines? Giant mecha and clean renewable energy? The means to the end of food insecurity, racial and economic justice, and cures for disease are now well-worn tropes of sci-fi utopia. Instead, here and now in the pre-apocalypse, we are left with the rusting hulks of Theranos prototypes, 3d printed ghost gun files, and billionaires colonizing space in a race to flee a dying planet. where_is_the_cyberpunk_we_were_promised?

https://mhr1235.github.io/where_is_the_cyberpunk_we_were_promised/

So, I was traveling through a portal when I overheard some kid talking to her AI friend: ‘why did humans ever think it was a good idea to eat cookies? Like, who was the first person in history that said “hmm, I’m feeling peckish, I wonder what that data block tastes like?”’ I think the AI was searching for the most polite way to respond... but the kid wasn’t done: ‘oooh, also, milk & cookies??? ya know that some insurance company dreamt that up, right-?’ I’m pretty sure the AI switched portals to locate some duct tape...

"Forest of Things" is an audiovisual fairytale by Manuel Tozzi from 2021. For the online exhibition the work is staged in a computer-generated multiplayer environment. With the sound of birds and water flowing by, the forest of things pretends to be an ecological system rather than uncovering its technological nature. Only one wooden fence, the boundary between the wild forest and the domesticated fields, disturbs the illusion. As it starts moving autonomously, it stops performing its programmed functions. Suddenly it reveals a letter of the alphabet, a hint of its algorithmic system. Because the letter x is used to signify the unknown, the underlying motives in the forest emerge.

Schemata @Corsica Studios Exquisite World!

on break. cook your own food

ȶ๏๏Ꮄ ʄཞยςӄ

this lil artificer needz some coffee

ANTI-PORTAL

ARƎЯA

This portal is a digital soundscape. The broken and discarded photogrammetric etchings of fallen trees build an atmosphere of contradictions when paired with field recordings. Spend some time wandering around this body of water and sit back into your audio feed while you navigate.

We all should expect more. We all deserve more

ARƎЯA

"Female" Siri Voice, “American” “Voice 3"

We all should expect more. We all deserve more

To Spawn a Door in the Land of Broken Mirrors

nacoca kolab

Jump in to spawn through portal

Ghost Shells - Disinformation

Disinformation produced by Joe Banks

My words rained over you, stroking you A long time I have loved the sunned mother-of-pearl of your body Until I even believe that you own the universe I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees. – Pablo Naruda

Grimm's Fairyland Portal

Grimm

a portal to the exhibition space "Grimm's Fairyland", showing desk with a computer with a flashing email symbol reading "Click Me!" and a pink mug shaped like a dragon

Click Me!

HERE LIES @lilmiss404

Looking Out Looking Back Again

Bao Egg

teh raptor

This egg leads to Bao's gallery. An evolving space filled with eggs and dancers. Enjoy the show, discover some treats, perhaps win something on a particular day. Playfulness required above all else

Visit

Last year I spent a few days speaking with my mum about her growing up between places and between people. This year I asked her how she found those conversations, and what she thinks of looking back in this way. A document of my mum's formative years living between Sierra Leone, Lebanon, and England. Of loss. Of longing. Of belonging. - Peter Basma-Lord, 2022

this is not a ladder

portal to grimm's fairyland

Timekeeper

Melody Owen

This world is a collection of clocks from 1930s and 1940s movies - documented via Youtube screenshots. The film is stopped at exactly the time that the clock appears on the screen. It is both a deeply felt homage to the films of that era and a reflection on the way we mark time.

Timekeeper

;

Portrait XO

Tribute to Project Semicolon: 'Project Semicolon is a non-profit movement dedicated to presenting hope to those who are struggling with mental health, suicide, self-injury, and addiction. As the Project Semicolon website reads: “A semicolon is used when an author could've chosen to end their sentence, but chose not to.'

Project Semicolon

It’s arousing to live in abundance, where we’re valued for our labor.

we dig our hands into signals, scatter bits and pixels so they grow into something meaningful

Portal to Diffracted Sensibilities. Artificial Gaze - RCA

Royal College of Art

Diffracted Sensibilities. Artificial Gaze is a virtual exhibition that has been shaped around the same named elective course at the School of Communication, Royal College of Art (RCA), London, UK. As a collective, we look at ways of rethinking and reframing artificial intelligence (AI), inviting new perspectives, nonhuman centered conversations, speculations and storytelling that empowers diversity in understanding intelligence, liveness and sensuousness. Diffracted Sensibilities. Artificial Gaze looks at and speculates about sentient AI, digital queer ecologies, parallel realities and other futures with a focus on ethics of technology, politics and poetics of storytelling situated in a queer-feminist context. It diffracts multiple points of view on the subject matter, deconstructing the colonial language structures around AI. Informed by contemporary art, philosophy, communication environments, science and technology studies, it develops ways of seeing the world around us through cognitive assemblages (N. Kathryn Hayles), sympoietic relations (Donna Haraway) and distribution of the sensuous. In friendship, Anna Nazo Exhibiting artists: Aiden Kasper Shabka, Amir Jahanbin, Chleo Li, Claire Breach, Mariana Neves, Rong Shi, Tongyu Zheng, Weihang Zhu, Wenhui Jiang, Xiangyu Wang, Xizhen Ning, Yijin Zhao, Yue Zhuo, Ziou Ye

Portal to AI Dreams for My Drone Sister

Anna Nazo

AI Dreams for My Drone Sister is a virtual exhibition that provides a glimpse at a retrospective of Anna Nazo’s performances with the drone, AI poetry and brainwave CGI. Anna Nazo is a London-based performance artist, researcher and educator whose practice engages computing technologies, philosophy and science. Her practice and research involve artificial intelligence (AI & indigeneity, AI poetry, AI narratives), drone storytelling, neurotechnology, VR, decentralized ecosystems (metaverse, DAOs, NFTs) and ecological sustainability. Within live digital-physical audiovisual performance, Anna’s work investigates questions of intelligence diversity, distributed forms of sensuousness, digital queer ecologies, and ethics of technology. It looks at ways of understanding intelligence and liveness in relation to nonconscious cognition, quantum reality and sympoietic complexities. Her performances operate on spoken word poetry that she co-write with artificial intelligence (AI poetry), sound and imagery that are computer generated live (real time CGI) from her brainwave data (EEG), and drone performance. This retrospective includes 360-degree archival video materials and AI poetry excerpts from the performances Flame 2.0, Devia, Granular Silt, Fractal Lymph, Phasing Never and Blue. The 3D environment was designed in collaboration with Megan Irusta Cornet.

Islands are said to be isolated yet surrounded. 
A sisterhood is a community based on the grounds of care and support. 
Drones are aircraft machines which are driven remotely by another(s). 
As poetry aligns, each work in symbiosis to permit this space to exist.

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DRAGONS!

WANDER

FLOW

artist in residence: henrique fagundes